Tutorials:

Re-cover the ipisoft Motion Capture software process
Workflow: From ipisoft to Maya to Unity
Parenting in Unity
Unity Particles as objects, and unity particles prefabs

Did you know that Microsoft’s Kinect can measure your bodily proportions in 3D and hence ontogenetically estimate your age? Well grandma, it can. Aside from being incredibly impolite, a recent patent application from Redmond also highlights a more beneficial function: to prevent kids from watching or playing age-restricted media. The proposed system could even shut down inappropriate material automatically when an offending minor steps in the room and then resume it when they leave. On the other hand, we give it five minutes before some scheming rugrat with a distorting lens tweets a workaround.

PRESENTATIONS || CRITIQUES

915 – 12
15 minute break at 1045 – 11
2.5 hrs == 150 mins
15 presentations
——
10 mins each

AFTERNOON

1-2/230 In class record a motion capture with iPisoft & Kinect based on morning presentations

2/230 to 330 – Watch these tutorials:

- Weight Painting Tool in Maya: http://www-lynda-com.proxy.artic.edu/home/Player.aspx?lpk4=90001
- Interactive Skin Bind Tool in Maya: http://www-lynda-com.proxy.artic.edu/home/Player.aspx?lpk4=66529
- More about the Interactive Bind Tool:
http://www.youtube.com/watch?v=KJfUie-bBko
http://www.youtube.com/watch?v=tmYRj7TE0JQ
- Exploring Unity Interface:   http://www-lynda-com.proxy.artic.edu/home/Player.aspx?lpk4=90004
- Importing Models and Animations From Maya into Unity: http://www-lynda-com.proxy.artic.edu/home/Player.aspx?lpk4=90005
330 show iPisoft 3-6 PSEye config and visit green screen room [MC311]
4 class ends

Trisha Brown – “Accumulation with Talking plus Water Motor”A complex combination of individual elements of three other pieces. In this work, Trisha Brown has shown a physical and mental virtuosity rarely seen in the dance world. With the strict structures of Brown, combined with the styles of movement of pedestrians or simple humor brought a sensitive intellectual who challenged the mindset “mainstream” of modern dance of this period.

 

He Yunchang

http://www.galerieursmeile.com/fileadmin/images/Artists/HE_YUNCHANG/HE_YUNCHANG_TEXTS/Colonnello_One_Rib_HeYunchang%20_E.pdf

Excerpt about He Yunchang

“

It is the case, for example, of “Dialogue with Water” (1999), a 90-minute long performance in which He Yunchang tried to cut a river into two halves with a knife while hanging upside down from a crane; “Wrestling: One and One Hundred” (2001), where He Yunchang spent 66 minutes persistently wrestling with one hundred people in a row; and “Casting” (2004), a work in which the artist sealed himself inside a concrete block for 24 hours.

Since “Appointment with tomorrow” (1998), one of the first performances by He Yunchang, in which he covered his body with mud and dialed random telephone numbers on a disconnected telephone for 75 minutes, the artist has purposely staged apparently ineffective or helpless acts as metaphors for his own approach to reality, where the sense of impossibility to bring an action to fruition is not a deterrent. With wrong-footed lucidity, once the plan for a new performance is complete and every single element has been premeditated in minute detail, He Yunchang is ready for a new experience that, although as excessive or incomprehensible as it may appear to the public, reflects, on the one hand, the existential reassertion of the artist’s will and his intellectual independence; on the other, a reaction against any form of power, whether commonly accepted moral codes or socio-political impositions.

Therefore, it does not matter, for instance, in his “Wrestling: One and One Hundred” whether He Yunchang suffered as many as 82 defeats versus only 18 wins; or if, after the performance, he needed approximately three months to recover. Prior to starting the matches, perfectly aware of the impossibility of beating all those opponents, the artist promised the participants a fee in exchange for their genuine commitment to the hand-to-hand combat. The battle He Yunchang really won is not the fight against his opponents, but the struggle with his own mental and corporeal exhaustion in order to bring his work to completion, despite any defeat. “We do not only have a physical self, but also an inner self”, the artist reflects. “Of course, the human body is very valuable–we depend on it for the practical realisation of any thought or action, but the inner self is incredibly mighty. It can freely get its way with almost no restrains. Body and life are both very important, but there also are many other things that are more meaningful to me. I can pay out; I have already paid out for forty-two years. If I suffer some injuries it is not a problem.”

If suffering is a file rouge that knits together all the performances of He Yunchang, it is not intended as the target of his works, but rather as the natural price that the artist willingly pays for the achievement of what he believes.

“

Clear Skies 3 – machinima using iPisoft, Source SDK, and Eve Online

Young Sherlock Holmes (1985)
just for fun:

(iPisoft for Source SDK: http://www.ipisoft.com/en/wiki/index.php?title=Animation_export_and_motion_transfer#Valve_Source_Engine_SMD )

About Maya 2012 and Mocap
Paul Stapelberg – game industry mocap professional

http://vimeo.com/paulstapelberg

(Maya 2011

vs Maya 2012

http://vimeo.com/28259369 , iPisoft

Maya tutorials
Maya 2012 Characterization Tool for Motion Capture retargeting and IK:
animation pt1

animation pt2

http://techland.time.com/2011/08/31/the-worst-thing-about-deus-ex-human-revolution/

 

What’s new in Maya 2012

http://usa.autodesk.com/maya/features/#channels_What’s New

Chris Reilly game character creation in maya

http://www.lynda.com/tutorials/Game-Character-Creation-in-Maya/83095-2.html